Made available in DSpace on 2015-05-14T12:39:32Z (GMT). No. of bitstreams: 1 parte1.pdf: 5859544 bytes, checksum: a2e25056d15530be7690b551784414a3 (MD5) Previous issue date: 2011-08-22 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / In the view of Michel Foucault, the discourse can be understood as any set of statements that are in regularity with each other, while sharing the same production of meanings and being inserted in the same discursive formation. Any form of language that takes place in an act of oral, pictorial or written communication will disseminate discourses, and those discourses are associated to the socio historical context in which the discursive materiality is produced. Thus, since the stories of the fictional character Superman are discursive production, they reflect the relations of power and games of truth that exist in the society where they are produced. In this paper, we analyzed a corpus formed by stories of the fictional character Superman taking as reference knowledge of the discipline Discourse Analysis (DA) and the principles of proliferation and appropriation of the discourses, as proposed by Foucault, as well as the notions of games of truth and relations of power in a foucaultian perspective. Through such stories were disseminated discourses that were voiced in the United States in times marked by historical changes in the relations of power. We show, through our analyses, that these stories of Superman, although originally inserted in a discursive formation of resistance to the power exercised by the ruling class, moved into a discursive formation that aligns discourses in support of the political and ideological positions of the U.S state, which reflect the attitude of America towards its own people and the world. The investigation of how did this process of transition of the discourses of Superman happened took us to the conclusion that any discursive production, even a seemingly innocuous as the stories of a comic book hero, is a strategic element in the struggle for power between antagonistic social classes. / Na visão de Michel Foucault, o discurso pode ser compreendido como todo conjunto de enunciados que estão em regularidade uns com os outros, tendo em comum a mesma produção de sentidos e estando inseridos na mesma formação discursiva. Toda forma de linguagem que se realiza em um ato de comunicação oral, pictórica ou escrita será disseminadora de discursos, e estes discursos estão atrelados ao contexto sócio-histórico em que as materialidades discursivas são produzidas. Desta forma, uma vez que as histórias do personagem de ficção Super-Homem constituem produção discursiva, elas refletem as relações de poder e os jogos de verdade que estão em operação na sociedade em que são veiculadas. Em nosso estudo, tomando como referenciais saberes inscritos na disciplina Análise do Discurso (AD) e os princípios de proliferação e apropriação dos discursos, propostos por Foucault, bem como as noções de jogos de verdade e relações de poder na perspectiva foulcaultiana, analisamos um corpus constituído por histórias do personagem Super-Homem através das quais foram difundidos discursos que circularam nos Estados Unidos em momentos históricos marcados por mudanças nas relações de poder. Evidenciamos, por meio de nossas análises, que estas histórias do Super-Homem, embora originalmente inseridas em uma formação discursiva de resistência ao poder exercido pela classe dominante, transitaram para uma formação discursiva que alinha discursos de suporte aos posicionamentos político-ideológicos do Estado norte-americano, passando a refletir a postura da própria América perante seu povo e o mundo. A investigação de como se deu esse processo de transição dos discursos do Super-Homem nos levou à conclusão de que qualquer produção discursiva, mesmo uma aparentemente inócua como as histórias de um herói dos quadrinhos, constitui elemento estratégico nas disputas pelo poder entre classes sociais antagônicas.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-07-04T13:54:58Z No. of bitstreams: 1 AcaciaPierreDosSantosMedeiros_DISSERT.pdf: 3655066 bytes, checksum: e60336f468fa7b5fbfa22beb1d9db4e3 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-07-12T14:37:11Z (GMT) No. of bitstreams: 1 AcaciaPierreDosSantosMedeiros_DISSERT.pdf: 3655066 bytes, checksum: e60336f468fa7b5fbfa22beb1d9db4e3 (MD5) / Made available in DSpace on 2017-07-12T14:37:11Z (GMT). No. of bitstreams: 1 AcaciaPierreDosSantosMedeiros_DISSERT.pdf: 3655066 bytes, checksum: e60336f468fa7b5fbfa22beb1d9db4e3 (MD5) Previous issue date: 2017-03-25 / A expans?o tecnol?gica e comunicacional propiciou o surgimento de novas pr?ticas de visualiza??o e apropria??o de informa??es, de modo a afetar a visibilidade e as pr?ticas das comunidades de f?s, que se constituem a partir de uma participa??o ativa dos membros que as integram. Este trabalho procura inserir-se no contexto da cultura participativa a fim de melhor compreender o fen?meno de cultura de f?s e contribuir para os estudos que a ele est?o relacionados. Para isto, utiliza-se o filme Batman vs Superman ? A Origem da Justi?a com o objetivo de demonstrar como os f?s se organizam e quais as suas pr?ticas em uma comunidade virtual. O m?todo empregado ? o da netnografia apoiada ? observa??o das pr?ticas online e ? elabora??o de question?rios destinados aos membros da comunidade. A base te?rica ? composta por autores como Henry Jenkins (1992;2006;2009;2015), Matt Hills (2002), Clay Shirky (2011), Paul Booth (2010), Mark Duffett (2013), dentre outros que procuram compreender a participa??o como o fator fundamental da cultura de f?s. / The technological and communicational expansion provided the emergence of new practices of preview and appropriation of information, affecting the visibility and the practices of the fans communities, which stabilish from an active participation of members that integrate them. This paper seeks to insert in the culture participatory context in order of better understand the fans culture phenomenon and contribute to the studies that are related to it. Therefore, I use Batman vs Superman ? Down of Justice film to demonstrate how the fans organize themselves and which are their practices in a virtual community. The used method is the netnography with the observation of online practices and the elaboration of quizzes for the community members. The theoretical basis is composed of authors like Henry Jenkins (1992; 2006; 2009; 2015), Matt Hills (2002), Clay Shirky (2011), Paul Booth (2010), Mark Duffett (2013), and others that try to understand the participation as the key factor of the fans culture.

Made available in DSpace on 2014-08-20T13:17:40Z (GMT). No. of bitstreams: 1 Francisco_Rafael_Leidens_Dissertacao.pdf: 1534769 bytes, checksum: cc3704391949c892bd4f2bb98f4b7fed (MD5) Previous issue date: 2011-07-21 / This work intends, above all, to highlight a fundamental problem in Thus spoke Zarathustra, namely: there is a tension between loneliness and communication that ultimately determines the course of this book claims regarding affirmative intention of Nietzsche. At the same time as the radical solitude enables unique experiences, the communication becomes impaired, since it is based on a predetermined language for moral values (gregarious), does not represent, then, what is unique and not transferable. The result is a problematic book, in relation to their address ("a book for everyone and anyone") and in relation to its internal development (Zarathustra's disappointment when you want to communicate, initially to people, at the "Prologue", to his disciples, and finally, to the superior men). What Zarathustra wants to communicate, initially, and intensely in books I and II, is the superman, which proves to be a means to support the eternal return. Without this support the realization (that ultimately ends up consisting of, in addition, a way of understanding "affirmatively" the cyclical nature of the world), the eternal return can not be communicated and remains, according to the hypothesis defended, a solitary and silent thought. We assume, finally, in this work, the extemporaneity of Thus spoke Zarathustra; waiting for an appropriate hearing and those who have an experience similar to Nietzsche/Zarathustra / Este trabalho pretende, sobretudo, evidenciar um problema fundamental em Assim falava Zaratustra, a saber: há uma tensão entre solidão e comunicação que acaba determinando os rumos deste livro quanto às pretensões afirmativas de Nietzsche. Ao mesmo tempo em que a solidão radicalizada viabiliza vivências únicas, a comunicação, por efetivar-se através de uma linguagem predeterminada por valores morais-gregários, torna-se prejudicada justamente pelo caráter singular e intransferível que o isolamento imprime a tais vivências. O resultado disso é um livro problemático tanto em relação ao seu endereçamento ( um livro para todos e para ninguém ) quanto em relação ao seu desenvolvimento interno (a decepção de Zaratustra quando pretende comunicar-se, inicialmente ao povo, logo no Prólogo , aos discípulos, e, já no quarto livro, aos homens superiores). Aquilo que Zaratustra pretende comunicar, em primeiro lugar, e intensamente durante os livros I e II, é o além-do-homem, que se mostra ser um meio para suportar a concepção fundamental da obra, a saber: o eterno retorno do mesmo. Sem a efetivação desse suporte (que por fim acaba consistindo em, além disso, um modo de compreender afirmativamente o caráter cíclico do mundo), o eterno retorno não pode ser comunicado e permanece, segundo a hipótese defendida, um pensamento solitário e silencioso. Termina-se por assumir, neste trabalho, a extemporaneidade de Assim falava Zaratustra; uma espera por ouvidos apropriados e por aqueles que tenham uma vivência semelhante a Nietzsche/Zaratustra

The focus of this thesis is to look at Geoff John's Justice League in the "New 52" universe. More specifically, the research concentrates on the relationship of the members of DC Comics "Trinity," Batman, Superman, and Wonder Woman. The three heroes have a special relationship that spans over 75 years, and now, with the "New 52," there is an opportunity to examine the relationship from its beginning to its end in the modern era of comic book history. The scope of this project will span eight graphic novels and five years of storytelling. To properly evaluate the relationship of "The Trinity" this thesis will look at research on friendship, interpersonal relationships, and management styles, all through the lens of a thorough character study on each hero. In the end, "The Trinity" will grow from uneasy allies to friends to family. They will solidify their relationship through fighting for their lives, making mistakes together, and ultimately saying goodbye to each other. This thesis will find their relationship is unique amongst comic book characters and should be considered the archetype for all the superhero teams that would come after their creation. Moving forward, to build upon this research one should take the analysis approach followed in this thesis and apply it to either the "Rebirth" version of the Justice League or the 2017 Justice League film which also will feature a version of "The Trinity"

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The licensed character of DC Comics known as Superman has been a beloved pop-culture icon for nearly seven decades. This research examines the cultural and historical relevance of the character of Superman, as well as analyzes the character himself as he is portrayed in various comic books and graphic novels since 1938. Ten comic books featuring Superman as a central character have been examined from each decade starting from the l 930s through the 2000s for a total of 70 comics. The comics were read and analyzed to find possible changes in the character of Superman over time, as well as the roles of Lois Lane, alter-ego Clark Kent, members of Superman's family, emerging enemies, and other interesting aspects of Superman culture. The data collected showed that Superman remains relevant despite significant cultural and historical changes over the past seven decades. Further, much of his popularity lies in his ability to be retooled to meet the needs of the current culture while remaining true to his traditional values. Reviewed research also shows that Superman has educational value as a tool to be used by elementary school teachers.

En la actualidad, los canales de televisión se han visto inmersos en una vorágine de la producción, específicamente en la producción de series televisivas.Es por esto la necesidad de crear nuevos contenidos, ya sea a partir de una historia original o -como se ha visto en los últimos años- contenido basado en historias clásicas o preexistentes con el fin de reinventarlas y modernizarlas. No son pocos los ejemplos que podemos encontrar en esta lista, dos de las más recientes producciones que tienen como base un cuento clásico son la serieOne Upon a Time (2011), y V (2009) quienes fueron inspiradas en Blanca Nieves y los Siete Enanitos y la serie ladécada de los ochenta:V, Invasión Extraterrestre,respectivamente, además de una serie de películas como Supermán (2012), The Amazing Spiderman (2012), La Chica de la Capa Roja, La Bella y la Bestia (2014), Encantada (2011), Maléfica(2014), Capitán America (2011), Hércules (2014)y una lista interminable que si bien es cierto solo algunas de ellas están inspiradas en historias clásicas -sea del comic o cuentos infantiles. Lo innegable es que son la evidencia de que lo clásico está de vuelta y ha invadido la televisión, pero esta vez con un nuevo enfoque, más fresco, sin estereotipos y utilizando nuevas herramientas pensando en atraer a un nuevo público joven.

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<p>Using the discussion of Biblical typology from Northrop Frye’s <em>The Great Code</em> as a starting point, this paper proposes a typological lineage of fiction growing from the foundational <em>kerygmatic</em> stories of Western culture. After briefly proposing canonical texts that would fit into this lineage, there is an analysis of the graphic novel <em>All-Star Superman</em> which demonstrates this contemporary text’s place in the typological line and its status as a prime example of the sorts of texts that would fit this lineage. Specific characteristics of the graphic novel and of superhero fiction are discussed that demonstrate <em>All-Star Superman</em>’s place in the typological line, and this placement also argues for the consideration of superhero narratives as worthy parts of the American literary canon. The final chapter discusses some of the ramifications arising from the analysis of both the form and the text, pointing to ways in which critical frameworks for both the typological lineage and the critical elucidation of the graphic novel format can move forward.</p> / Master of Arts (MA)